TTT wi) ATER Status Rapid Code Branch Name Start Date New ‘SUS Blough-Weis Library 12/5/2011 7:21:48 AM Pending PMC Hunt Library 12/5/2011 7:29:55 AM Batch Not Printed PMC Hunt Library 12/5/2011 9:09:28 AM CALL #: CD 7056 LOCATION: PMC Hunt Library :: MUS-OFC-4 TYPE: Article CC:CCG JOURNAL TITLE: Perspectives of new music USER JOURNAL Perspectives of new music TITLE: PMC CATALOG Perspectives of new music. TITLE: ARTICLE TITLE: Becoming a Body without Organs Through Tuba Performance ARTICLE AUTHOR: Hansen, John VOLUME: 48 ISSUE: i MONT! Winter YEAR: 2010 PAGES: 83-91 ISSN: 0031-6016 octc #: CROSS REFERENCE ID: VERIFIED: BORROWER: PATRON: PATRON ID: PATRON ADDRESS: PATRON PHONE: PATRON FAX: PATRON E-MAIL: PATRON DEPT: PATRON STATUS: PATRON NOTES: [TN:26337]ODYSSEY: 192.70. 186.204/ILL] SUS Blough-Weis Library RAPID This materiat may be protected by copyright law (Title He System Date/Time: 12/5/2011 9ORGANS THROUGH TUBA PERFORMANCE between the way that one practices an instru nt in. the hopes of technical improvement, and how one actually orms in a musical setting. It is my understanding that I perform my it when I am able to completely divorce my conscious mind from ack that regards and judges technique and method. In the chapter of A | Thousand Plateaus entitled “How Do You Make Yourself a Body lout Organs?”, Gilles Deleuze and Felix Guattari expound the tice of a “Body without Organs” (BwO); I believe my aforemen- = toned ideal mindset for tuba performance to be an example of this, In this essay, T will try to explain this concept and echo Deleuze and luattar’s advice as it applies to the practice of tuba performance, lle keeping in mind that if one wishes to perform in a professionaluo = payjear ues avo MOY anOge JHFYTNOMP pue yusqj9IU1 BuIq TIP req = YUU pmom 7 GoAIMOY ‘SEP prs BuTALET “woReusuALedxe pur aztsap vue arour uo sinds snyp y>ty ‘pouyss pu pasnsoy a10us su10s9q Aap mag. 4 pozleas oze sauisop osomp se pu “o1Is>p oZTTeOr 01 J2pI0 UT ApuRssUOD rou 2 sjUSMMTIOdKS QAg set wt wosied Y ‘usyo A19A OME oI Suravay sod © MoYTM ysiqma jeuosss2yosd ev BunUODr9q spreAoy yom 01 aIqss0d pur aq Kew ay YoAsMoY ‘OA s,u0 Jo ed suOI9q avy saxtsop osoy2 oms 20UQ “SP Oy] SVOMEMYS UY SOME 4IDIP aavay a[doad rey puawUIODaT ons © 0) yetsiononuosUn suas Ho IeYy “oYysIy YNUT os 2q pflom ayes wid pinoas ay wey 9M oy pure ‘OMO] YoU os axe puluL SuLGuens e OL oms. pasoddo se Qag ¥ ty Sunraddery stp jo saueyo arp ang ‘yferroUpdxo sur smtp JO qe auapsdxa pros suo sdeyrog ax Avjd 03 axsop amp dopaaap tow =F uaas 40 ‘suo Wo dIsNUE oIeI2 UOTE IT ‘puns [AANEAG AjjeRUDOd om soonpord yey} suoUMsUE peoIsuL e st egny aya qeyZ puLisiopun L 2U0 Pinon Moy “oReZ|eMIsd]ENY pue VOHEdyNENs MOTTA PU “OME dU YWA eqny ou poypeosdde Buaey pue SunProsdde Ajajos. 10m TIA SIGNI THYSsoIINS e 9q pMNOD suo Ie sUNTEMT OY YNDITp st IT mI3q “ssUSNOINSUOD NO OTL! 197UD LIENS 989YI HIDYAA s99e]d 07 aya ymiod yas | ‘uoded sry anoyfaomy, 2,"UoRKoyRoo{gns pur “usstuesro yoy © ‘amoyrsis [are] sn pmq Apsenp aeqa wens yea sory up ou, IP AS LENEND pue szn9pq “(Way yw Aed adoad say0 pur aay O1 ysud AJduuis Oy sUEDDISNE H9AD puE) suepDisHEH feuOIssyord pa -f-— Summdse 0x Aresssoou Aqpeuorses90. are Kaypy 3mq ‘OM Ip) wo 29, = gyrarq are size yo sadd asayf, “sysed mo pur saajasmo ozifenI297] Ut nos | pur AJpens 07 si soy uountOD Ara stat “sem wou UT SBUIED AEyLUREY OP smut 30 SSSUTP AOU Op 07 THEAL am TEE Gaaamoy ‘apHap aa way AA “Bupyer dsor © 5 pur ‘Bunypreaiq “Sunes se yons “ys seyuury axe 9m qe sysea aNOgE ay: 8 am se saay Ajrep amo ur suaddey sryz -9arovas pue ynute Aaya zy 1 SOMISUDIUT JO MOG Ip soos A[duns pearsar pure “ustresr peoRprEsaTy ajnr ¥ Jo sued quaniysuos Bulag sv surBi0 19y 998 0} sasvo9 vosId oud = UdYm sINd90 I] “UORIQIYD! norm ATTeANIeT sovour pure ‘APUoUPUTUTT dn sjoay pue s9as a0 YoY ut aandadsiad 40 UoRISodsIp ¥ st Cag OUI, mp. -AUOp Sety 910 IRA Pure ‘SIUEYTI s,a40 ‘jJasauO InOge Te Vor soypes ‘op 01 SJUEM DUO JeYA PU IIsNUF NOgE FUBTURP st au wayAL og. f= sto Og 1p “Surdejd eqn) Jo aseo ax Uy ‘ouesuT OF Jo dIp UPI 9UO vam (HH [RyDTED 201" sf a110 J] “paypear-Zu1aq pur a]qeysxomun SyNoEEP {snorSuep pur jemtiosss yloq st re sonaezd Jo adéa ¥ sia] ‘Qag & SurENe sp au “Buysap pur Funsxa Aydwis peowsur de pur srewur por 4 84 pue ‘snorosuoa jas you st aU0 uayAL 14°2u189p 01 ay!oads AouaIsISIOD ur Jo aurjd ay usop jo susueMUN JO PPY MP st OMT ML wosdwio> yeu Biv = 8 pa Ayevorsesoo asnur pu Qag_ 9p UL astx> Aprueisuo> roMUED duo Bums sisnyy many Jo saanvadsiag +8Becoming a Body without Organs as eS Sarical playing, goals is more efficient than blind experimentation. - ough leaving the BwO can lead to the obfuscation of desires, there © plang Fong term benelits to doing it in moderation. ious, and Helping students increase their practice efficiency and overall Jajue is perhaps one of the best justifications for the existence of Slied music teachers. They can make the departure from the BwO PF smitification and intellectualism both productive and encouraging. jetimes, however, musicians are thrown out of their BwOs, much Hier own deteiment, by critics, peers, or teachers. Deleuze and rtarri go so far as to say that “Every time desire is betrayed, cursed, from its ficld of immanence, a priest is behind it,” and that “cast the triple curse on desire: the negative law, the extrinsic the transcendent ideal.” negative law is that desire is lack, and in order to remove desire, ‘rian priest recommended castration. Teachers and critics, as authorities, have the power to effectively castrate young = sol eenly aware of themselves as subjects, “nailed down as one” as Jeleuze and Guattari say, and causes them to think about their status fnd’identity instead of simply their desire in playing their instrument ated, most teachers are not trying to remove desire as the priest Thousand Plateaus, but some teachers actually do say these things they have grown frustrated or decided that a student’s time is : futilely wasted by playing music. This is bad teaching, and “Would behoove students who really wish to continue playing to not let “emasculating teaching or criticism quell their desire That desire is linked to pleasure is the extrinsic rule. Following this, “the priest recommends satisfaction (or masturbation), for satisfaction jomentarily disrupts desire. This practice too is often seen in applied i¢ lessons. Some teachers are even notorious for not giving their “Students any helpful advice, choosing instead to smother them with. W ‘praise and compliments because they cannot stand secing thei oversial tO students feeling inadequate. Much like teachers who denigrate their this. Once ‘students, overly positive teachers can destroy their students’ ambition it may be. ‘and interest in music by leading them to believe that they already posséss everything that there is to get out of music, They think that “their playing is significant because of their intrinsic self-worth, [Students who really believe what their teachers say in these situations == Almost incyitably have earth-shattering moments when their situations ‘change and they realize that they are not actually as “good” as they ould think an realize =sodhaypae asus jo wpog zan-Fup ayy pus ysyoseur ap ar Faoim 08 Ue OMG & spremor Sunoacopus ayp weep skew ayENsWOU!DP oy Ajssapua|ax asn pened pue sznapq wy) saduexa omy, dag upne 1 ree : sosim> 9omp otf wou Atay ej ada3{ 99 Pros Pe 3589) aaMMNstOD 9g 02 spas DUI “BurzypemDo/]o1U1 ods WA pue QA wae 2 UF quads sui HadMoq sDUEEA v 9q OF SpI9 AIOYT, “SOMA JO sodé peq oI wp pray 40 ‘sKem oapesouaap uF sCaig Jo ano woya Ind soypie Te sFurp oxoUsy Tes Ady wy os ‘qenuaied says Inoge popstar 0 “pasted Apaao ‘paspseys Aurgun Bursq ore fou wo BoAOU fq padjay 2q pinoa siuapmag “4 ssome jaxen ou op usyo a[doad Gonaaoy SMsind femI>tuNs 10 JeorBo] v 30U sf 3 DUNG “sos 9934 Oy oy aarqns Aatp aya sop ypavas aqdoad re—p sBupp sup Jo qe surEWoD ose awop » Aq rome spup 10 \ 4 andy ‘OMA 22 Yourisisuos jo sued ous ‘st seq y pa7yerIOMua2p ya Jo poxsaoastpax ‘suonsamp somo II O1 se [om sv ‘LaduEssmol] nous = yse9 aInOF IaIOYS aIp sea [Aouas|sto9 Jo sue|d sep] wom ‘BapyNy Hal sea aujsop su9yM Sf [asoM] WIP Ing, “Aes LEMUR pUL sznapaq sy anti ‘yrpsuy >ysnu “ononjag. 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The masochist first needs to be in pain reer to experience intensities in the BwO, which only come in the Sof more pain, and the drug-user needs to first be high to rerience intensities. The dangerous thing about both of these types (Qs is that they blind the practitioners from experiencing other \s, for they are always ignoring intensities of non-pain/drug types “in their constant craving for more pain or drugs = { think that this is analogous to tuba players who only find their Qs through performances for which they are completely prepared, ugh rushes of anxiety that sometimes accompany performance. difficult to thoroughly rehearse for every single performance, and cians who aren’t able to enjoy playing for people without the ceived assurance that everything will go perfectly end up missing on intensities that arise musically. They think and feel on a field is too inward and narrow. There are also people who actually hrive off of this nervous energy. Both of these groups, though, need @ learn how to thrive off of music itself if they wish to maintain eerest in performance, because for most people, nerves, like total eparation, only come in certain situations. = These types of musicians, I believe, have BOs, but BwOs which are yin the same way that those of masochists and drug-users are. : BwOs only exist under specific stimuli, and when said stimuli are ibscnt, they arc Jcft with a hunger for them. Musicians, if they wish to © _2yoid this type of vacuousness, need to maintain an interest in playing sic for its own sake. Also, they need to have cnongh taste to know hich types of intensities can be found in a diversity of situations, and gnough energy to be able to steer clear of those that cannot. When “they do this, all performance situations can exist on the same plane of = consistency, On the opposite extreme, BwOs can fail by being used for devious ids that undermine freedom. Deleuze and Guattari call this these ancerous BWOs fascist BwOs, and characterize them as being driven by'a desire for things like money, power, status, and war, When one esires these specific ends, stratification takes over the pursuit, which also blinds the practitioner to the joy of the pursuit. When the goals {re met, one ends up creating even more stratification and is left with freedom to desire, instead of a desire that is consistent, sustainable, ¢ and natural, =< Musicians fall into this trap by setting goals for themselves to win auditions, win competitions, and be better than other musicians thatjo sodA asatp jo Aue so ‘conesiaordunt 203 yaa vonestaosdun zzef ‘uided soquiey> yur Surxejd pensaysio ‘Fuxke[d ojos yur sos1ouax9 Pa pomnysor Buyou0D91 a\qnon aaey a[doad Avec Burkes eqn. 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Musicians, I believe, need a type of musical ‘jon that provides continuity and cohesion to different aspects © fheit playing, so that they can move from one type or style to eewithin a single plane of consistency instead of having separate y for each one. For example, very few tuba players are actually = to improvise in public. Many tuba players with fantastic que and musicianship suddenly lose a great deal of their accuracy beauty when they are asked to play without music in front of early, they see improvisation and playing by car as an entirely sai act from playing written music. The continuum of the BwO is Srontinuum of all substances in intensity and of all intensities in etance.”° These substances could be improvised music, chamber ‘orchestral music, or anything else. If they saw the similarities Tad dferences between these acts as simply minute gradients on a ule plain of consistency, they would exist in a single BwO more Sfien, and any conscious, stratified effort that they make towards provement would end up applying to all aspects of their playing. nducted Vas one attempts to reach a healthy BwO, there are a number of eleiize. | pitfalls in the way. “The test of desire: not denouncing false desires, Fut distinguishing within desire between that which pertains to stratic proliferation, or else too-violent destratification, and that which sertains to the construction of the plane of consistency.”? It is all too “fas to destratifyto the point that nothing contains any value, In the ‘Gace of masochists, this can actually lead to death. Deleuze and juattari point out that the reason that masochists inflict pain on jemselves is that they are destratifying the links between desire and ‘pleasure. As the lines between cause and effect become less clear, one “becomes less likely to stop themselves from acts that one previously 7 would have been more cautious about. In tuba playing, this lack of : = intention, valuing and understanding can manifest itself as isiclessness and worthlessness. I have been extremely bored by “performances given by highly respected musicians whose music I playing as. regularly enjoy; 1 suspect that this is due to their not being fully rformane = commitred and interested on those particular occasions. If one is f apathetic about the music that one is playing, the music will probably ‘sound meaningless and not worth listening to. This is an example of a “total abandonment of the stratum of significance. Conversely, hhypochondriacs and paranoiacs, exemplifying an overabundance of the strata of organism and significance, naturally “have extraordinary difficulty abandoning their habit of viewing © themselves as flawed organisms. In tuba playing, this can be a common problem as well. Chris Olka, the Seattle Symphony tubist, has r playing, : types ofA suusyenioo],91Ur pe uonvaynens jo pujur InpYyBnorp ‘snopsuos ay pur “ouarsisu09 “yo oad Omg a2 wo qoq wads ABiouD pue ow Jo aoueyeq e urequreur poe Axd oy Surkn axe fox arp oysnuE ay UO posnso} “furs snus ‘op Apuosord Arya ueq !ape Tey Inoge ssouDsEME ‘uy ‘Pozyfeas uadq oaey suOIstA opSTR s,9u0 [BUN wuoLULOdKS o7 SuTIAN © 9q paw Sayer 10j no 9fo ue dooy seape asmus 940 “NOK tpim BuyAoyd {30 sIsnu mnok 07 SuTuast] Aofus oy Sufo$ 10M aze adoad ‘us29009 poynens-spoao 10 Aypede pogpensop Aq poses st sity soqeqes © Ssnut Surdejd jo ave ayp BuiKofu you oxe nok jy “skem peruourtiodxo —/ qryores ur dos hq dos Surayenoua pur Sureuomoip © fq ajqemsopun pur ajqensap st ya weameq siujod sq puy pmnoys = quo ‘peoisuy wens of o1ea19 IP soMEANDE UT oBeTuD JOU APP © 001 Ajpeasap soTpFau Pmoys suo ‘auaisisti0> Jo auejd v BurreDA9 UT Ss ‘ouope Woy 2av9y asnf oy 70m [Jf Ayfeanedt 320m prom ree Apog Aur ur sossov0xd Suypadurt = dn pus { ‘onbrayas Aur Suyjonuos wo pasnso} pur sno1suos-zjos p01 autoz0q J uaa eyL sxeaA a2 J9AO parnow acy I “Ady aUIATKE © sep v ug “sIusUINSUL NMA Aeyd O1 aIqP 29Bu0] Ou oe Karp HapPNE e JO “pIar ze yp pur ‘paar pu pasnyuos aM soposuuy soup ‘soapasuuaya aBuey> “par 01 paey 003 An ajdoad vay, “eriowres uf aynsor Jey sapzeg peusDVUT = sem uayo soruarydoznps 3ep SuruONuaus ur Surqudsop o¥eA HENEN “PIE ¢ = pue aznajoq Iya Or UPPE st sy], “wUOIsAp Jeo] oF anp susWeINDT © kes ony paoroy u20q aay eI sisIqM jURSIY>10 JeUONssaOId Jo Jaquinu & us9q aay SIDI, “SIGMA Joy suraIqoId feoTBoporsAyd jo Joquinu e or pes] ues Sunqnopsjos pue SuazqEMD9]|22U1-1940 = -907-81q 99>] parm APpuANx ue Ing SuRPoU yA dep au Jo pur ayn we dh pus pjnom ays ‘Buoy Aep [Te 909-B1q Yo] 19K TO sTENTODTOD fay pmoys asosdun pinom saat] ays qey2 sOyDear sq fq Por ayoa qUOpMys Weyp v Jf sauiod sy aensuowsop o2 kFopeue Buaoypoy Dip daeS pue “wsiueypour Buded ap jo saadse jenprypay Sunjurys © rao Aq jjosung Buyddys proae or soun ay ‘SopUaPYEp jeouyD = smozx0a0 03 opzo wi Fuide|d eqna pue ABoporsdyd Jo ma1A paynens v wo ayer oF Aressaoou uayo stat oT “Ised axp UE au GLA smIp passnosip “Pra jodeou mide napa aisnyy mayy Jo sonnsadsiag 06Gecoming a Bady without Organs a Noves cuze, Gilles and Félix Guattari. 1987. A Thousand Plateaus: and Scjzophrenia. Translated by Brian Massumi (Min